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How dare I talk about diversity?
As a white middle-class woman
My name is Josephine Reichert and I am a white middle-class woman born in East Berlin in 1986. For years I have wanted to write about diversity and representation and inclusion in the art world because it's what I've been spending all my efforts on for the past 8 years and it has always been a struggle. I feel like I have to constantly explain why I am doing this to the artists I work with, to funders, to others in the art world, to myself. So this text is a defence I guess, my defence of why I do what I do and what right I have, as a white middle class woman to run an organisation that is "BAME-led" (as the Arts Council coined it, I think anyway [it stands for Black Asian Minority Ethnic]) and represents Black and Brown artists and actively engages diverse audiences.
Side-note: The reason why I have put diversity, representation and inclusion in italics above is because they are overused and politically charged terms. I am using them for want of a better word. "BAME" in quotation marks also makes me cringe. I am citing it because that's the acronym that funders (such as ACE) use. I know that all this language needs explaining and picking apart properly to really bring across what I mean but this article is already 3 pages long and I thought 'no one will ready a four page essay'.
Let's start at the beginning. I am from East Germany and my parents are pretty much self made. My dad is from a working-class family and he was brainy enough to get a PhD in Chemistry and move his family to Brussels after the wall came down. My mum is from a middle-class family and because of this was not allowed (by the DDR regime) to go to uni so she became a nurse (as opposed to a doctor). So it wasn't the easiest of starts in life for them but my childhood was privileged. I went to a private school in Brussels for 12 years and went to uni in the UK. I now have two MAs - one in Fine Art and one in Philosophy. So yes, I had a privileged upbringing. I am very grateful for that. But/and I have also lived with German Guilt my whole life. Don't worry I am not bringing this up here because I just said I was privileged and am trying to make myself feel better about it. I am bringing it up because I will come back to it later. Essentially German Guilt refers back to the Holocaust and has meant that as a German child I was constantly reminded of the past of my people and what horrors "we" had done. I think it's good, that through education, Germany (and its people) might have learnt a lesson unlike most Imperial countries and history might not repeat itself (too soon).
After finishing my MAs, Ridhi, a fellow philosophy student and myself decided to start Ort Cafe. Ridhi didn't want to be an academic and wasn't sure what to do after uni and I felt that the art scene in Birmingham was lacking, that the spaces in Digbeth weren't offering me anything. I didn't understand what the art work on show there was about and you'd think two MAs would have helped, but I really didn't understand what the point of the work exhibited there was. And I still don't. Don't get me wrong I'm not saying it's all crap, I just don't feel like it is "for me".
Before we carry on with the story of how we started Ort Cafe I quickly wanted to bring up David Osa Amadasun's article "Black people don't go to galleries" where he argues that museums and galleries mostly don't represent Black and Brown bodies is a positive light with little Black and Brown role models on display/working in these organisations and therefore many "BAME" audiences feel like it is "not for them". I absolutely don't want to assume that I felt the same when visiting the Digbeth art spaces because I didn't feel like the work was for me, because it was/is for me. I am part of the elite that works there and for whom the work is created. I just thought it was bullshit that there wasn't anything more on offer. That there was no diversity.
The cafe was a way for us to start something with our mates, without any money and to think of art as something different, not elitist. So we opened the cafe doors and 400 or so people came to the opening event. Clearly lots of other people in Brum were excited by the idea that there could be something different on offer. We ran the cafe for 4 amazing, exhausting and difficult years. It was the best and the worst job. But for both of us it was brilliant to be able to kick off our careers without any handouts (don't worry I will get back to this point after the next paragraph).
Ort Gallery was born about a year after the cafe as the space above it was available. And this was very much my baby. It was hugely influenced by the café though because the café had shown us that the community of both Balsall Heath and Moseley (and wider Birmingham for that matter) was very supportive of what we did. The café became a safe space for people who lived in Balsall Heath: anybody seemed to feel safe there. Our visitors actually reflected the diversity of the local residents. We never really did anything towards this, we didn't even actively encourage it - it just happened organically. But of course we were proud that people liked what we had created and that people felt safe there. So this became the premise for the gallery: expand on our cultural offer that our audiences who are already coming to us want. Offer more of the kind of activities they were lacking in their area: like family craft workshops, showing art by Black and Brown artists, artists who are not seen in the city despite the city being one of the most diverse in the UK, offer opportunities for young people and emerging artists to get involved in, to show their work, to develop their careers… All of this had been lacking when we had graduated and we loved the fact that we could now offer our fellow Brummies better opportunities.
Of course the gallery didn't generate any income, so we applied for funding from Arts Council, City Council and other funders. Receiving funds was never easy (and still isn't, if anything it's got worse, but that's another article in itself) but because we started small we were successful enough to make it work. But I should point out that myself and many others worked for free for the gallery for several years. Only in the last two years, since 2016, have we been paying staff appropriately. But we did always pay artists appropriately, that's where most of our funding went to. Paying people properly is, of course, very important and especially when talking about diversity this is a bone of contention. Artists not being paid (at all/enough) is an issue across the industry but Black and Brown artists and artists from low-income background are likely to be experiencing this even more. So we're back at privilege. And of course, you might say that I only started my own business because of where I came from and I'm sure you'd be right. I don't want to speak for Ridhi here but I have been supported by my parents in all my life choices all along and I knew I'd have them to fall back on (emotionally and financially) if it all went wrong. We each invested only £30 of our own money into Ort Cafe, a low-risk strategy. But what really made it low-risk for me was the support I had behind me. And this is where privilege really changes people's life choices. In order to do something like Ort you need a lot more than naivety and a little bit of cash, you need a safety net, confidence and the belief that you can do anything. Over the years I met lots of young people who didn't have the confidence or the support (emotional and/or financial) to even think of doing something like Ort. These choices are for the privileged.
So you might be wondering why I called Ort Gallery "BAME-led" if a white middle-class woman is behind the organisation. Yes I am the main person behind it, driving it and always believing in it, but an organisation is never just one person. There's three directors who are legally in charge and Ridhi is one of them and then there's Ian. So that's one reason why we're "BAME-led". Because one of the main issues with representation is that there's very few people in leadership positions of organisations (so SMT, CEOs and Board Members) who are not white middle/upper-class middle-aged men (or male pale and stale as someone aptly coined it). You can read more about this here in the ACE's Equality, Diversity and the Creative Case: A Data Report, 2016-17. But essentially it says exactly that, that the creative industries are improving, but not when it comes to high level positions. Yes, Ort Gallery's directors are unpaid (because they legally have to be), but they do take up paid freelance positions at the gallery if it works for the project. And before you say anything against freelance - all employees at Ort Gallery are freelance because we only get project based funding so we can never guarantee positions for longer. And yes we hope to get to a stage when we finally have core funding and can offer people proper jobs with benefits and safety. If you'd like to write to any funders on our behalf, go ahead! Or if you have some spare cash to support us - you can donate to Ort Gallery's work here.
Back to "BAME-led". There is a second working method which (maybe more importantly) makes us "BAME-led" and that's the fact that we work with people from all backgrounds at all stages of our work. We meet with artists from diverse backgrounds, audiences from diverse backgrounds and creatives from diverse backgrounds who advise us on the work we are planning to do. We plan projects with them, we listen to them, they influence the project and the fundraising, they influence what we do and how we do it, they agree to fees, they agree to budgets - you get the drift. They are properly involved. We don't just find a Black person to run a workshop for us and then post about it on Instagram so that we can tick that engagement box. And I do really believe that quite a few organisations in this city do this. I know very well that it's not easy to run an artist-led space in Birmingham in 2018 but tokenistic actions to keep funders happy are totally pointless and make me angry. I believe in a city like Birmingham (and a country like the UK) we have a duty to represent everyone and show work that everyone can take something away from. Whether it's educational, learning a new skill or about a new topic, changing people's minds about stereotypes, getting people to talk to one another who wouldn't usually speak… Duty? Why duty? Because we are using public money for our exhibitions and events. I am not saying that all art has to be accessible and that everyone needs to like or even get it but at least put something in place to ensure people have a chance. So text that anyone can understand or events that support people's understanding. If white middle-class people are in the minority in our city, then why would we spend millions of pounds on art activity that is of interest to only this small group of people and alienates (often purposefully) everyone else?
I am basically describing colonial structures still being prevalent in our society today. We have still not properly moved on from imperial thinking where a white elite rules over Black and Brown bodies. And being an outsider I can see this clearly. That's why I mentioned German Guilt earlier. Because it was drilled into me, I was made to feel guilty, even as a 12 year old kid who had nothing to do with the Holocaust. And whilst it might seem cruel to do this it has made me hyper-aware of this kind of imperial thinking and of the privilege I grew up with.
If you got this far and you're still asking yourself "why am I listening to a privileged white lady chatting about diversity and inclusion" then I have this to say to you: nearly all the big arts organisations (and most of the small ones) in Birmingham (and the UK) are run by white men and these are people who have no idea what it's like to not be like them and choose to be unaware of their own privilege. So if I can make a stand and speak out for people who don't and maybe change just a couple of people's minds then shouldn't you support the work I do? Or at least not argue against it? Because every white man has to understand that inclusion isn't just something you do because it's cool in 2018 but because it needs to happen and because we need to finally break with these colonial thought structures. The change has to come from within the white elite.
Community Leadership (2016)
I started my organisation, Ort Gallery in 2012 and became aware of how I could bring people together, create strong groups and empower others to take charge of their situation. Ort Gallery is an artist-led space and as a trained artist I see my position within the organisation as a cultural producer and curator of the projects I programme. I started questioning the modes of participation of our audiences as part of my artistic enquiry. My curatorial approach of collaboration and conversation was the starting point for my work as a cultural leader.
Ort Gallery is based in an underprivileged neighbourhood in Birmingham with over 80% of residents from BME backgrounds. In order to engage residents from all social groups I started working with community ambassadors, active individuals who act as a middle (wo)men between the community and the organisation. With their help I am able to understand the needs of the groups and how to overcome barriers to participation. This experience has shown to me that issues that stem from diversity can be addressed by bringing people together because the facilitation of dialogue can lead to social change. I want to work towards a more cohesive and fair society.
I believe that I can change society for the better by promoting social mobility and facilitating dialogue between people from different ethnic backgrounds. Especially now when the topic of immigration has become a highly contentious issue, I believe that the private sector need to offer a more informed view than the current media trend in order to protect existing immigrant communities.
I believe that leadership can be a collaborative process. Instead of a top down management model, I believe the community itself can be the decision making body, as long as good communication amongst people is ensured and a strong team emerges. I see myself positioned in the middle of this community group collaborating with the group and taking responsibility for the decisions made. I am keen to use the experience I have made of engaging and developing a relationship with hard to reach communities to create social change.
YouTube (2014)
The YouTube culture seems to create a new generation of communication methods. The sharing options on a global scale allow people to be in control of their communication like never before. News are spread in a new, more immediate manner, however they have undergone a treatment of opinion and subjective viewpoints. Anyone becomes a commentator on society, politics, lifestyle, health, fashion etc. A new truth is created and it is inherently tied to capitalism. Even life choices in connection to family, friends or relationships cannot be fully removed from the consumer culture. Mental states and emotions are just as valid as a purchase of a new pair of shoes. Anyone can become an expert on YouTube, a Guru, a leader of followers and anyone can comment on the Guru's videos, anyone can add their view on any matter. This is done publicly and openly, and above all in a very emotional manner. People either love or hate someone or something, nothing in between seems to exist. And anyone can vote on other people's comments and mark them as spam, report or block them as well as praise them and thumbs up them. Everything becomes important and in the same way everything is trivial. Hundreds of thousands of people watch someone that they do not know propose to their partner and millions watch someone else that they do not know cuddling their pet. There is no scale from the mundane to the awe-inspiring, all is equal, everything is awesome and therefore everything is boring and useless. But whether you call it amazing or boring, either way millions will watch it, share it and like it. So there is no need to even label it amazing or boring. Democracy had finally reached it's perfect point of equality. People vote, people share, they like and they dislike. Anything, everything.
People know what they want and they will get it. Whenever they want and how they want it. Immediately. In HD. Freedom of speech is fully accomplished. You cannot advertise a cigarette brand on TV but you can do so on YouTube. There seems to be no editing, no censorship. Yet all videos are packed full of advertisement paying both YouTube and their video-creating partners enough money to buy houses and fancy cars. 18 year old earn more than their parents from their bedroom. We watch a young woman cry who we have never met in 'real' life, we leave comments, try to comfort her and empathise with her situation. We know her. She's our friend. Her name is Bunny and she lives in Texas. She is going through some tough times. Her name is Anna and she lives in Cork and some people on YouTube hate her. It's tough on her. Her emotions are real and our empathy is just as real. We choose to watch her suffer, no one makes us. We relate to her in a way that we never could to a starving child in Africa. We don't want to watch that, we cannot help this child. But Anna and Bunny we can send them emails and letters and things to their PO Boxes, we can buy their merchandise on their Etsy stores and we can comfort them that way. But if we join Oxfam to help the starving child what good will it do? There will always be another one starving after this one. It's old news, it's always been like that and always will be. The fake-real Anna and Bunny however, they are different. They are better versions of me, more beautiful, more successful and famous, richer, honest and brave, going through tough times and showing me that life gets better.
We're allowed to stalk Anna, she uploads new videos daily, we're part of her life and we witness it all. The happy times and the misery. She wants us to be part of her life, we have permission to be there. She makes voyeurs out of us by leaving some information unrevealed. We sometimes feel like we got there by accident because she forgot to edit a shot out, we see a bit of flesh, a tear, something that was supposed to be hidden. Not all subscribers will have seen it, but we did, I did. I am left hanging at times, pondering about certain details, putting the pieces together myself. The next instalment might give me another piece and I hang on to that until the next video is put online, the next instalment of the repeated virtual reality of mundanity and emptiness.
Some Thoughts (2011)
My family is from East Germany. I grew up hearing stories from my grandparents about their experience of the war as teenagers. It had a huge impression on them and they see themselves as victims. They are adamant that it is not their fault, none of it, they could not have known what was going on, and they do not feel any sense of guilt. We moved to Belgium when I was 6, the socialist regime having had a massive impact on my parent's life by crushing their study dreams and by locking them up in a country they did not feel at home in all their life. Belgium symbolised freedom and wealth for us. We were a close-knit family; we travelled and turned our back on the past. I grew up learning about German guilt, every year reading another world war, Nazi Germany or cold war book, appropriate to the current age. I was never told to feel guilty but it felt like it was expected of us, the right way to feel. So I felt guilty, for my country, my culture and on top of that for my grand parents who I considered ignorant. They should have known better and at least now they could feel remorse. Nowadays I understand that they had to tell themselves that they did all they could in order to keep living their lives. They had not chosen to have a horrible youth, sitting in cellars during bomb raids and running out of their burning school. But what shocks me is their racism, still today, without them realising how racist their comments are, they embarrass me deeply whenever I see them.
I believe that a lot of this made me who I am and it made my assimilation into the British culture more complicated. I struggled aligning myself with what I considered a nanny state: paternalistic messages openly displayed, people following the trends without much reflection, surveillance not only accepted but, as it seemed, blindly trusted. A state that struck me as worse than what my family had run away from, as people seemed to want and embrace this kind of paternalism. I was a bit shocked and found people terribly ignorant. Why didn't they realise how they were contained, controlled, supervised? How dare they expect me to feel guilty for what my country had done and themselves be so ignorant of their own mistakes? So I reflected a lot about what it meant to have the identity I do, wondered about what my past had made of me and how it would influence me in the future. All types of covert and overt surveillance, data collection, privacy and so on fascinated me. I simply could not believe what was happening. How were people so at ease with a system that made them feel free but obviously did the opposite? Was it because I had a completely different notion of freedom that I was more critical, wearier?
These notions of freedom, control and humanity remain in my work till today. They are the driving forces of my artistic enquiry. I started working as a support worker of the elderly, children with cerebral palsy, people with brain injury, people with mental health problems, people with learning disabilities and on the autistic spectrum. I observed all the human notions from misery to happiness. I saw exploitation, abuse, indecency, people unfree, without dignity and respect and I saw the absolute opposite people full of empathy, caring for others, real happiness, love and carefree spirits. I saw respect and support across ages and classes, genders and cultures. I observed life at it's fullest. Yet, the job never had any romantic notion of humanity, everyday life in care homes and support centers is too close to the line of absolute misery to become romantic. There is always a barrier, call it professionalism or distance, either way the line is too fine for one to become comfortable.
These experiences made me reflect on my life and human suffering as well as pure happiness. It made me reassess my thoughts on my family and my new home country and I realised that I had been the most ignorant of all. I had seen the world as black and white, yet it was just different shades of grey. It was too easy to think of a whole nation as ignorant, to justify my own views over others as right. The view of right and wrong suddenly seemed absurd in a world where something like 9/11 can happen. If anything the cold war literature I read tons of in school taught me that it was impossible to think of the world in such a dichotomy. Yet I found myself thinking that way and with what an arrogance! I finally had a reason to feel guilty.
But there was something else that drew me to people that were different, outcast from society, often put away. It was a personal fear on the one hand of losing control over my own or my friends or family's lives. And I was also drawn to these people who were in such a situation. It wasn't pity, empathy maybe, but the real reason was curiosity. If my life was so simple, so clear, how would it be if it were all different? Didn't schizophrenia perfectly describe the madness of the world I no longer understood? Wasn't that knowledge the only certainty I had? How could I not hold on to it? These people understood something I did not. It fitted so well with my newfound view of the world.
What does it mean to live today? (2010)
How have we – as a society - changed? How does mass culture and virtual communication change us, the way we think, acquire knowledge and behave in society? How much are we influenced by social currents, by political power, the media? When does influence turn into control?
Ideology means that we are caught up in a structure, unaware of it and hence incapable of escaping. Like in a Kafka novel, we get to points in our life, that make us realise that we are on the inside. Like bumping into an invisible wall. We feel powerless against whatever it is that is controlling us. Just like an analogy of the relationship to God the control is executed by political and institutional power today through the individual internalising structures. This means that within us, in our thought patterns and consecutive behaviour, we have absorbed society and its constraints. We imagine that we are free, but are really controlled through indiscernible systems.
Orwell uses the eradication of history and the minimisation of language as metaphors for these systems. It follows in his novel 1984 that new generations get born into a fabricated society and over the generations reality ceases to exist. Orwells dystopia still draws analogies to todays society: mass media, for example, serve similar processes of feeding the masses a fabricated version of the truth and reality.
Of course, in Baudrillard's terms the values of truth and reality have changed drastically since post-modernity, as signs of power have replaced real power and herewith created a virtual or hyperrealsociety. Reality in a pre-first world war definition is no longer possible due to the dissimination of information on a global scale. Every strand of knowledge has its own definition of a term and uses it for its unique investigation. There is no longer one answer or one truth. As Debord pins down in his The Society of the Spectacle, the ideology itself remolds the whole real to its own specifications. In days of internet and mass communication real experience is replaced by virtuality and the concept of real time becomes impossible.
From here it follows, that we live under the control of power structures, influenced through mass culture, inter-subjectivity and virtuality. We become people that are worth less than our data, not even our thoughts are our own in a cartesian sense. What are we? Beings out of a Sci-fi story, like Huxley's Brave New World? Blindly marching along with the masses? Dumb sheep following the herd, like Chomksy proposes, just like the society of a fundamentalist regime?
Camus, Sartre, Kakfa, Auster, Huxley, Orwell and many other post-modern writers express this feeling of absurdity, illness and alienation in their novels. We are clinging on to the values and morals that have long lost their meaning. We believe we are free, freer in fact than any generation before us, freer than any society outside the western world: we have rights and we make use of them. But what do they really mean? Are these rights and our freedom just a front to keep us happy, to stop us from thinking more often of that invisible wall we bump into from time to time? It is felt when the voting system is not democratic, when less skilled people get the job you wanted because their daddy had the cash, when your bank denies your credit check because you went to a peaceful demonstration, when you spy around in other people's facebook accounts, when someone leaves a bag behind on a tube and you feel your heart racing out of fear... But we put it down to our ant-like triviality, don't we. We accept without knowing what we're accepting…
Hyperreal Thoughts (2010)
In today's society much of old fashioned communication has been replaced by virtual means to interact with others. In fact many therapists are trained today to deal with issues people encounter when being completely displaced from their social environment. Baudrillard goes as far as to to say that reality has been replaced by symbols and signs. We experience a simulation of our own human experience, where the media blur lines between what is really needed and what is a commercial stipulation. We enter, in his words, into a state of hyperreality where we become incapable to discerning between reality and fantasy. I am interested in what effect this ideology has on our thoughts. Even though our thoughts are seen as a radically private concept, Descartes calls it a Private theatre, we are influenced through education and language acquisition in society. Our thoughts cannot remain completely independent of external influence.
In the 1976 Chomsky-Foucault debate this question was disputed. Chomsky argues that we are born with innate concepts, while Foucault is of the opinion that we procure all knowledge through the society we live in. What is interesting is, that Chomsky went on to write many publications dealing with the control media possess over people by manufacturing consent. So in this regard he agrees with Baudrillard that the media society is responsible for a new kind of human experience of reality.
Lyotard describes knowledge as power in a postmodern society. Power states fight over information and data as they used to over land. This has a very clear cut impact on the individual when their private data is collected and shared on a daily basis. The surveillance society has become a modern version of Orwell's nightmare. We live in a world dominated by information and we experience life as a simulation of its own. This means that our identities are redefined. We are living in a western individualist democracy but are at the same time all adhering to the same principles and ideology. This means that even though we hold the belief that we live a life according to our personal choices and are even encouraged to believe in this freedom, we are part of a shared subjectivity, simply by living according to this model of hyperreality. Our human experience is shaped by society and makes us equal through this process.
Returning to the idea that our thoughts are the one quality of life we hold that is essentially personal and cannot literally be accessed or controlled by power structures, we are influenced by society and cannot think totally free. Being part of a shared experience, we choose to behave according to social norms as part of a human need for social recognition. Like Hegel said, we can only be private when there is a society around us to justify this quality. In several novels of the authors Kafka and Auster, the protagonist is caught in a net of events that he is incapable of solving. He cannot release himself of this situation and is forever prisonner of his own fate. This metaphorically expresses the idea of ideology perfectly. The individual struggles against his personal experience but cannot free himself of the restraints of society. This means that in a hyperreal human experience, our thoughts and thought patterns must become hyperreal themselves, we can no longer differentiate our real thoughts from fabricated ones.


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Turma da Mônica (portugiesisch für Monica und ihre Freunde) ist eine brasilianische Comic-Serie, die 1959 von Mauricio de Sousa geschaffen wurde.

Die Serie von Comicstrips handelt vom Mädchen Mônica, das ungewöhnlich stark ist. So kann sie die Jungs, die sie bedrohen, verprügeln und ihre Freunde Cebolinha, Cascão und Magali beschützen. Bald gilt sie als "Herrin der Straße".

Die Serie begann 1959 zunächst unter dem Titel Bidu, die Figur Mônica kam 1963 dazu. Die Comicstrips wurden in 14 Sprachen übersetzt, 13 mal als Film und einmal als 85-teilige Fernsehserie umgesetzt. Außerdem erschienen drei Videospiele und 1993 wurde ein Themenpark zu Turma da Mônica in Brasilien eröffnet.

In den Jahren 1975 bis 1980 veröffentlichte der Ehapa-Verlag einige Comic-Bände auf deutsch unter dem Titel Fratz & Freunde.

1995 veröffentlichte der Bastei-Verlag 1 Album von 3D von Turma da Monica für den Vertrieb in allen Ländern und Teilen der Welt, in denen Deutsch gesprochen wird, Das Album trägt den Titel Monica und ihre Freunde

Hauptfiguren
 Monica: Monica ist meistens die Hauptfigur in den Comics. Sie trägt meistens ein rotes Kleid und hat vorstehende Zähne. Für ihr Alter ist sie ungewöhnlich stark. Ihr Lieblingsspielzeug ist ihr blauer Plüschhase, den sie aber auch als Waffe verwendet.
 Cebolinha: Im Englischen heißt er Jimmy Five, was sich auf die fünf Haare auf seinem Kopf bezieht. Dieser Junge ärgert Monica gerne; besonders, indem er die Löffel ihres Plüschhasen zusammenbindet. Dennoch fürchtet er nichts mehr, als Monica, die den Hasen als Wurfgeschoss verwendet. Trotzdem sind er und Monica gute Freunde und in vielen Zukunftsversionen sind sie sogar verheiratet. Er trägt meistens ein grünes Hemd mit schwarzer Hose. Als einziger der vier Kinder trägt er Schuhe.
 Cascao: Dieser Junge ist Cebolinhas bester Freund. Er ist ziemlich schmutzig und hat sogar Angst vor Wasser. Im Englischen heißt er Smudge. Er trägt oft ein gelbes Hemd mit brauner Latzhose.
 Magali: Im Englischen heißt sie Maggy. Magali ist Monicas beste Freundin. Ihr Markenzeichen ist ihr gewaltiger Appetit. Magali isst so gut wie alles; ihr Leibgericht ist jedoch Wassermelone. Obwohl ihre Freunde sie gernhaben, misstrauen sie ihr, wenn sie etwas Essbares mit sich führen. Magali trägt meistens ein gelbes Kleid.

Nebenfiguren
 Franjinha: Im Englischen heißt er Franklin. Er ist ein wissenschaftliches Genie, das oft sonderbare Mixturen und Apparate entwickelt, die er entweder an Monica und ihren Freunden ausprobiert, oder diese von denen zweckentfremdet werden.
 Titi: Im Englischen heißt er Bucky. Dieser Junge hat vorstehende Zähne wie Monica; sie sind aber nicht miteinander verwandt. Titi flirtet gerne mit Mädchen, was seine Freundin Aninha (im Englischen Annie) aber sehr wütend macht.
 Dudu: Im Englischen Junior genannt, ist Magalis jüngerer Vetter. Im Gegensatz zu ihr, mag er aber fast kein Essen. Er ist sehr frühreif für sein Alter und verhält sich oft überheblich.
Maria: Sie ist Cebolinhas kleine Schwester und noch ein Baby. Obwohl sie ihn oft stört, hat er sie sehr lieb. Wie Monica und Magali basiert Maria auf einer von de Sousas eigenen Töchtern. Kurioserweise ist die echte Maria aber älter als die anderen beiden Mädchen.
Luca: Er ist ein Junge, der erst später in Monicas Nachbarschaft ankommt. Er sitzt im Rollstuhl und damit ist es eines der wenigen Male, dass eine körperlich eingeschränkte Figur in einem Comic eingeführt wird, der ausschließlich an Kinder gerichtet ist. Trotz seiner Einschränkung ist Luca sehr sportlich. Monica schwärmt manchmal für ihn.
Dorinha: Sie heißt im Englischen Doreen. Sie ist eine gute Freundin Monicas und ihrer anderen Freunde. Sie ist blind und trägt eine dunkle Brille. Obwohl sie mit einem Blindenstock herumgeht, kommt sie sehr gut mit ihrem Umfeld zurecht.
 Mingau: Im Englischen heißt er Vanilla. Er ist Magalis Kater, obwohl ihr Vater eine Allergie gegen ihn hat. Mingau agiert oft als Magalis Beschützer und liebt es, von ihr verwöhnt zu werden.
Anjinho: Bei ihm handelt es sich um einen jungen Engel, der oft zu Hilfe kommt, wenn jemand in Gefahr ist. Dabei hat er bei Monica und ihren Freunden oft alle Hände voll zu tun. Manchmal gerät er auch mit Teufeln aneinander, die hier aber eher ungezogen als wirklich böse sind.
Chico Bento: Dieser Junge (auf englisch: Chuck Billy) lebt außerhalb der Stadt auf einer Farm. Chico trägt meistens einen Strohhut, ein gelbes Hemd, eine karierte Hose und geht barfuß. Obwohl er sehr schlau sein kann, ist er kein guter Schüler. Er ist in seine Mitschülerin Rosinha (auf englisch: Rosie Lee) verliebt. Sein in der Stadt lebender Vetter Primo wundert sich oft über Chicos ländliches Verhalten.
Tina: Sie ist Studentin und hat eher selten mit Monica und ihren Freunden zu tun. Im Laufe der Jahre hat sie eine besondere Veränderung durchlebt. Sah sie anfangs noch eher nerdig aus, ist sie inzwischen zu einer wahren Schönheit gezeichnet worden.

Weblinks
 Offizielle Website (portugiesisch)

Einzelnachweise

Comicstrip

redpajama_set_name: RedPajamaWikipedia


The Miz wanted to be Shane McMahon's best friend and he bugged Vince McMahon's son about tagging with him. Finally, during the Chrismas Day episode of SmackDown Live, they formed a team.
It didn't take long for Shane McMahon and The Miz to find themselves in a position where they had a big challenge ahead of them. Because The Miz arranged a SmackDown Tag Team Championship match at the Royal Rumble.
These two had to get through The Bar first. Sheamus and Cesaro were not going to let go of their titles so easily though. The Best Friends of Shane and Miz took a lot of punishment, but in the end, they pulled it off.
The Miz nailed a Skull Crushing Finale on Sheamus while Shane McMahon climbed to the top rope and landed a moonsault for the win. After the match, The Miz and Shane McMahon celebrated with The Miz's father at ringside.
It was truly a great moment for those two.


text:
Incubus Interview
by nzrock | Dec 8, 2011 | Home Page List, Interviews
Legendary Californian-based alt/funk rockers INCUBUS are heading to New Zealand for two shows in early 2012. The band will perform in Auckland on January 31st and Wellington on February 1st on what will be their fourth tour of our country. Armed with a back catalogue...
Henry Rollins to Tour NZ
by nzrock | Dec 7, 2011 | Home Page List, News
Henry Rollins is bringing his provocative and hilarious spoken-word show to New Zealand in April, with shows in Auckland, Hamilton, Wellington and Christchurch. For 30 years Rollins has been in the spotlight, as frontman for US punks Black Flag and the Rollins Band,...
Beastwars Interview
Wellington Stoner rock band BEASTWARS hit number 15 on the New Zealand music charts with the release of their self titled debut in 2011 and sold out their limited edition 300 copy run of vinyl within several months. They've supported the likes of KYUSS and HIGH...
More Gold Tickets Released for Foo Fighters
After kicking off their Australian and New Zealandtour in Perth with a bang on Monday night, The Frontier Touring Company are delighted to announce that a limited amount of gold production holds for the Foo Fighters concert at Western Springs Stadium have been...

redpajama_set_name: RedPajamaCommonCrawl


Business partnerships have a myriad of benefits to the parties involved. The partners can pool their resources—especially money—to have a stronger foundation, bring in their diverse skills and talents, and offer more growth and expansion opportunities. However, business partnerships are more than individuals coming together and doing business. Each person needs to vet the others and to lay down some ground rules to guide the running of the business.
You need to consider what each of the partners is bringing to the business, and ideally it should be different for everyone. For example, if it is a two-partner affair, and you have money to put into the venture, you may need to get a partner with excellent networks or connections, or who has access to the market. You may also need to partner with someone who is more outgoing if you are shy or an introvert.
It is critical to clearly define from the onset the amount of contributions from each partner in both the formation stage and the continuation of the business. Finances may be the most crucial thing to agree on—the amount of money each will contribute to set up the business, and how much each will be responsible for when it comes to future needs. Other than finances, it is good to define how much or what each partner will put forth in relation to time, equipment, and other resources.
While still considering contributions, the liabilities of the business are borne by the partners and may affect their personal properties if they exceed the business resources. Partners may consider having their business incorporated to be a private limited company to protect themselves from unlimited liability in partnerships. To incorporate your business in Singapore, it would be better to work with One Visa to have a stress-free process, thanks to their experience and expertise.
It is important to consider what should happen in the case of various changes that could effect the ownership of the business. Some of these issues include the sharing of proceeds if you, as partners, decide to sell the business, the position on bringing new partners onboard, the issues surrounding a partner who wants to withdraw, and the options with regard to buying out a partner. You also need to define what happens in the event of death, bankruptcy, or retirement of a partner. It is also worth anticipating a scenario in which a partner can leave the partnership, start a competing venture, and steal some of the business's clients—thus, you should have a non-compete clause in the partnership agreement.
Although you may have come together as friends, you will at times not agree on certain things. It is vital to agree on how daily operating decisions and longterm decisions will be made. You can define who gets to have the final say. Clearly state what kinds of decisions may be made by a single partner and those that require a unanimous vote. The existence of a decision-making structure that all partners understand and consent to offers a good foundation for a business with minimal conflicts.
Should things get ugly among the partners, how are the disputes to be solved? You may have documented mediation as the first step. You can all agree to give arbitration priority when you need to settle thorny issues. Court proceedings may expose your partnership, so you need to remember they should be the last resort. Defining conflict resolution mechanisms will do away with guesswork while dealing with disputes.
It is worth considering the above issues when entering into a partnership, to consult with a legal expert, and to have a written document to guide your relationship in the business. With such a document, it is possible to avoid legal issues and quite some hassle in future.


When I open Sacred Space in the morning to clear something, do I have to re-open Sacred Space later in the day when I want to work on something else?
Yes, you do need to open Sacred Space every time you seek to work with spiritual healing unless you have consciously opened the Sacred Space saying that you will be in that space until you go to bed, for example. The window of Sacred Space needs to be opened daily at the very least. If you anticipate working in that space throughout the day, set that intention with the first opening of the space.
However, if you want to be double sure you are working in Sacred Space later in the day from when you first did your work simply declare, "I am working in Sacred Healing and Wisdom Circle. We are in Quantum Space." Quantum space is the space from which all things are possible so it reinforces your intention with a clear definition of how you are regarding this space.


At our house, we're pretty strict on limiting free time for our kids. They get maybe half an hour of screen time after school (after their homework is done) and, on some evenings, half an hour after supper. On weekends and during the summer, it might be a bit more than that, but if they're staring at screens on a nice day we shoo them outside and if it's a rainy day we figure out something non-electronic to do.
This, of course, translates into our kids requesting things that they didn't even know about before those visits.
One great example of this phenomenon is Lunchables. They're simply not something that's normally on our children's radar, but after a visit to the grandparents a few years ago, they came back and absolutely insisted on trying Lunchables.
Sarah and I shrugged our shoulders and bought them each a Lunchables box as a one-off treat, intending them to be eaten for lunch on a Saturday or Sunday.
Needless to say, we weren't impressed. We paid several bucks for a container with a pretty small amount of food in it, mostly processed food. For all three of our kids, we wound up spending close to $20 on a small and highly processed "lunch" that wasn't particularly healthy.
It did have one undeniable thing going for it, though: Lunchables are really convenient. You can just open them up and eat, pretty much regardless of where you're at.
So, Sarah and I decided that we'd try to make our own Lunchables.
We simply took five divided containers that we found at a yard sale (much like these, actually), and then went to the store and bought a bag of grapes, a block of cheese, some snack crackers, and a package of small juice boxes. We sliced the cheese and then put the cheese, crackers, grapes, and juice box into the divided lunch container and suddenly it was virtually identical to one of the Lunchables that we purchased.
What was different? There was about 75% more food in our "Lunchables" and the cost dropped from about $4 or so to about $1. Our total bill at the store for the block of cheese, the crackers, the bag of grapes, and the juice box was less than we had paid for three actual Lunchables, and we could have made about 10 or so of these meals out of those purchases. It took less than five minutes of prep work to make them and they were just as portable and convenient as a Lunchable.
The thing is, you could make this exact same thing with any finger foods that you prefer. It doesn't have to be grapes and crackers and cheese. You can use lots of different fruits in there (I like blueberries, raspberries, chopped melon, and chopped pineapple). You can put in almost any kind of cheese. You can put in things like chicken wings or shrimp. You can put in vegetables like cauliflower or broccoli or sections of corn on the cob or artichoke. Sushi is absolutely perfect for this (and it's not hard to make).
From there, it becomes obvious that making your own quick and convenient lunch with a lot of food variety really isn't very hard, especially when you step back from the "Lunchables model." Even when you're trying to somewhat mimic a Lunchable, you have a lot of range, but when you drop that, there are a ton of convenient lunches that you can quickly make yourself that are cheap and tasty and healthy, too.
For me, having a "convenient lunch" around is really, really useful.
Ideally, a convenient lunch is one I can eat with my hands with no extra utensils, one that I can pull out of my backpack almost anywhere and eat with no prep work, and one that I actually enjoy while also being reasonably healthy. Ideally, I can just toss the container right back in my backpack when I'm done and throw it in the dishwasher when I get home. Even more ideally, it doesn't cost that much to prepare and doesn't take a ton of work to prepare. If a lunch can actually tick off all of those things, it's great.
Let's break those things down a little bit so that we can see the requirements.
I don't have to use extra utensils to eat it. It's okay if I can eat it with a simple utensil that's already in the box, but it shouldn't be complicated. I do actually keep a fork, spoon, and chopsticks in my backpack. However, the most convenient meals are ones that require nothing more than my hands so that I can eat that meal in the widest range of places. This gives me a lot more flexibility over where – and by extension, when – I eat. So, meals that require no utensils are best, though meals with just basic utensils are okay.
I don't have to do extra prep work to eat it. This means I don't have to heat it up anywhere and it also means that it doesn't have to be kept exceptionally cold (though I will sometimes bundle a convenient lunch with an ice pack to keep it cool). Basically, if I couldn't eat this meal on a hiking trip somewhere when I stop and sit on a log along the trail to eat lunch, it's probably not what I'm looking for.
It's enjoyable for me to eat. This means I'm not actually sacrificing an enjoyable lunch just for convenience or saving money. This is a matter of personal taste, as we all have foods that we like that others do not (and vice versa). I mean, I'll use sauerkraut as a condiment on almost any savory food, while others will gag at the prospect.
It's healthy. This is why something like a bag of cookies doesn't qualify. That's not healthy and, honestly, I'd probably feel awful most of the afternoon if I ate a bag of cookies for lunch. It doesn't have to be "perfectly" healthy, but at least reasonably balanced and not packed with extra sugars or salt or preservatives if I can avoid it.
It's easily portable. Honestly, this comes down to the container more than anything else. The portability of a lunch is almost all about the container. It needs to be a sturdy container that stays closed when I want it to stay closed and won't leak. The two examples I like the best are food jars like food jars like this one, which is great for carrying soup or something that needs to stay hot, or containers with a tightly lockable lid like this one, which is great for carrying many other types of meals. I can throw these containers in my backpack without any real worry of leakage.
It's inexpensive. Part of the advantage of choosing this option over just popping into a restaurant or something is that it's a significant money saver compared to similar items at a quick restaurant. The contents of a quick lunch can't be very expensive or else you're probably choosing lunch elsewhere. For me, if it's not beating a burrito bowl from Chipotle by a significant amount, I'm probably not doing it right.
It's easy to prepare. Lastly, this shouldn't require a whole lot of prep work. You should be able to throw it together the night before or even that morning with just a few minutes of effort. If it takes a long time to prepare, that's going to be nearly as disruptive to the day as other lunch options.
So, how do those ideas actually translate into things that you might want to have as a "convenient" lunch that fits into your daily carry bag? Here are some things to consider.
What foods do you like that actually meet those requirements? In other words, what foods do you like that require very little preparation to be ready to eat, can be eaten with your fingers, don't need to be reheated (this isn't an issue if you have a food jar, as noted above), and are also reasonably healthy, tasty, and inexpensive?
You might think that list is pretty short, but it really isn't. One practice that can help you fill out that list is to simply walk around your local grocery store looking for foods that might work for this purpose. Look through the produce section for fruits and vegetables you can easily eat with your fingers. Look at the meat section for items you could eat cold if they were already cooked, like chicken wings or legs or thick-cut deli meats. Consider sandwiches – you can put small packets of condiments in the meal with you so that the sandwich stays dry until you're ready to eat it. You can slice any kind of cheese that you like. If you want to get inspired, look at Lunchables or other ready-to-eat meals or snacks and just emulate those.
Once you start really considering the wide variety of options available to you, a lot of options pop up.
Do some bulk prep work. One of the most effective ways to keep all of this cheap and fast is to buy things in bulk in a relatively unprepared state and then do the prep work yourself all at once when you have time.
Rather than buying pre-sliced cheese, buy a much less expensive block of cheese, cut it up yourself, and use it in multiple meals throughout the week. Do the same for something like salami, too.
Rather than buying pre-cut fruits or vegetables, buy a head of cauliflower or a bunch of grapes still on the vine and wash and cut things up yourself. Get them to a state where they're pretty much ready to eat, then store them in a large container in the fridge until you're ready to pack your meal. It's a lot easier to just grab a few pre-washed grapes out of a container on a busy evening or morning than it is to have to deal with taking them off the vines and washing them when you're already strapped for every second.
Save good leftovers that work well for this. I used to be a huge aficionado of chicken wings and I would eat them cold for lunch for days afterwards, as I'd buy them in bulk and cook them all at once for a party, but I'd save some of them in the fridge for myself for later in the week. In the winter, I do the same thing for soup, as I'll make a big batch, save a lot of it, and then take some to the library with me in a food jar a day or two later so that I can have a super cheap hot lunch that's really delicious (I love to put chili in there with a little bit of cheese stirred into it and some oyster crackers in a Ziploc bag… so good).
You can even fill your containers in advance, either partially or fully. Just pull out several containers – maybe five, to cover a whole work week – and put some items in each one on Sunday. That way, the actual effort needed to finish them off for each week day is truly minimal.
Use good containers. You can give this a trial run with simple containers, but you'll quickly find that having a partitioned container with a firmly attached lid is really handy and you may find that a food jar that keeps things hot is also very useful.
My only advice is to not buy these right off the bat. Try to use the containers and options you already have on hand to make convenient lunches for yourself, then see what works and doesn't work for you.
Convenient pre-made lunches like these have become a staple of my routine on days when there aren't going to be many leftovers in the fridge. I love taking these kinds of simple meals to the library with me or to a quiet place on a trail near my house where I love to go when I'm brainstorming or doing professional reading.
Here are some of my favorite things that I love to prep.
Sliced cheese, crackers, and grapes: It's so simple, but it works. It always hits the spot and can be eaten with ease. To be specific, I really like colby jack cheese (bought in a block and sliced), store brand Triscuits, and green seedless grapes. I could eat that almost every day for lunch.
Soup: I love to put soup in a food jar on a cold day and take it to the library with me (or if it's just really chilly and I choose to go on a long outdoor walk). My favorite is reheated chili – we'll make chili earlier in the week and then I'll reheat some of it to put in the food jar before I leave. I'll stir in a little bit of cheese and take along a small container of oyster crackers to add to the soup when I eat it. I sometimes do the exact same thing with chowder, which is also excellent the second time around.
A simple sandwich: Whenever I'm at a restaurant that has condiment packets, I request or grab a few extra to throw in a drawer here at home. Why? I use them when I make a sandwich for this kind of simple to-go meal. I'll make a sandwich that fits perfectly in a partition in a meal container, not put any condiments on it initially, and put a few condiment packets in another container. In the third, I'll put some sort of finger vegetable or fruit.
Noodles: Some noodles work really well cold, so I'll take them along in a segmented container with some appropriate sides. If they don't work well cold, noodles work wonderfully in a heated food jar – I just heat up the noodles while the food jar is warming up and then add the noodles to the jar and go.
Vegetable medley: You'd be surprised how often my lunch just consists of a medley of vegetables. I'll usually put in three kinds, often with pickles in the largest partition and other options (like carrots or pickled garlic or something like that) in other segments. Sometimes, I'll put some nuts in there as well.
Chicken wings: Before I became vegetarian for health reasons, I used to love eating cold chicken wings for lunch the next day after a party. These work perfectly for a meal like this – just toss some chicken wings in there, eat them for lunch, and leave the bones in the container for later disposal.
So, let's bring this all back around to the original Lunchables situation with our kids. After trying actual store-bought Lunchables during one park trip, as I mentioned above, Sarah and I put together an "imitation Lunchable" for each kid for the next trip to the park. Each one had substantially more food in it and cost about half as much and the ingredients were substantially better – freshly sliced cheese, better crackers, a juice box, and a cookie.
The kids absolutely loved them. Without any mention, the kids recognized it as basically being the same as a Lunchable, but they preferred the ones we made.
Our homemade ones took abut five minutes to prepare, had more food, had healthier ingredients, and was way cheaper.
The same principles behind those "imitation Lunchables" guide quite a few of my own lunches (the ones that aren't just leftovers, anyway). They're just simple foods that I like that can be eaten anywhere, packaged up in a simple way so that they fit in my backpack without fear of spilling. The cost is usually less than a dollar and it provides me with lunch wherever I want to be.
It's not a huge filling lunch, but the truth is that most days I don't want a huge filling lunch. I just want something light to tide me over and a moment to pause and just reflect on the world while eating that light lunch. This is perfect for that – it's cheap, reasonably healthy, and works almost anywhere I happen to be.
Make your own Lunchables, just the way you like them. You might just find it's a strictly better way to do lunch.


text:
Q: How to convert numeric values with quotes in CSV to int type Data is below
no,store_id,revenue,profit,state,country
'0','101','779183','281257','WD','India'
'1','101','144829','838451','WD','India'
'2','101','766465','757565','AL','Japan'
'3','102','766465','757565','AL','Japan'

Code is below
import pandas as pd
data = pd.read_csv("1.csv")
dummies = pd.get_dummies(data)
dummies.head(10)

data.info() is Object for all the column.
How to convert to automatically to new object column to dummies, For example here TEAM is object need to convert to get_dummies. If some one add tomorrow names column it is also need to convert to dummies

*

*data.info() is object for all the column

*How to convert automatically assign int to numeric column and object to non-numeric column

*Tomorrow some one might add new column may be numeric or non-numeric

*How to apply get_dummies after that

A: While reading CSV file using pd.read_csv set quotechar parameter to '(default is ")
From docs pd.read_csv under quotechar:
quotecharstr (length 1), optional:

The character used to denote the start and end of a quoted item. Quoted items can include the delimiter and it will be ignored.

from io import StringIO
text = """no,store_id,revenue,profit,state,country
'0','101','779183','281257','WD','India'
'1','101','144829','838451','WD','India'
'2','101','766465','757565','AL','Japan'
'3','102','766465','757565','AL','Japan'"""

df = pd.read_csv(StringIO(text),quotechar='\'') # or quotechar = "'"
print(df.dtypes)
no           int64
store_id     int64
revenue      int64
profit       int64
state       object
country     object
dtype: object

A: @Ch3steR's solution is perfect.
Just to extend it, you can use converters in conjunction to efficiently handle conversions in case you would want to.
df = pd.read_csv(io.StringIO(text), converters={'no': D.Decimal, 'store_id': D.Decimal})

redpajama_set_name: RedPajamaStackExchange


text:
Karoline Leavitt projected winner in fierce GOP congressional primary in battleground New Hampshire
HAMPTON, N.H. – The Associated Press projects that Karoline Leavitt will win the Republican primary in New Hampshire's First Congressional District, which has long been a highly contested swing House district.
Leavitt will now face-off in November's midterm elections with two-term Democratic Rep. Chris Pappas, whom Republicans view as vulnerable amid a political climate that for the past year had favored the GOP.
Republicans need a net gain of just five seats in the 435-member House in November to take back the chamber's majority they lost in the 2018 elections, and they're heavily eyeing New Hampshire's First District, which stretches from the Massachusetts border, Manchester, and the Seacoast region, up through the Lakes region and into the White Mountains.
"Our home-grown grassroots, America First campaign prevailed. We won tonight, Leavitt said to cheers from supporters as she delivered a primary victory speech in the seaside town of Hampton, New Hampshire.
The 25-year-old Leavitt – a New Hampshire native who worked in Trump's White House press shop and later for GOP Rep. Elise Stefanik of New York, who is now the number three ranking House Republican – will become the youngest woman ever elected to Congress if she wins in November.
Republican congressional candidate Karoline Leavitt of New Hampshire delivers a primary victory speech, on Sept. 13, 2022 in Hampton, N.H.
(Fox News )
Leavitt topped Matt Mowers, a former New Hampshire GOP executive director who worked on former President Donald Trump's 2016 presidential campaign and served in the State Department during the Trump administration, who was making his second straight bid for Congress.
"Unfortunately, tonight's results did not go our way, but I will never stop fighting for those middle-class families to make sure they are not forgotten," Mowers said in a concession statement.
Mowers easily captured the 2020 congressional nomination in the district before losing to Pappas by five points in the general election.
The increasingly combustible battle between Leavitt and Mowers became one to the right, with both showcasing their Trump administration experience. However, Mowers did not go as far as Leavitt when it comes to Trump's 2020 election loss to President Biden. Leavitt is a firm supporter of the former president's unproven claims that the last election was "rigged" with "massive voter fraud" and "stolen." Mowers, with more pragmatic language, has said that he continues to have concerns about voting "irregularities around the country."
Republican U.S. House candidate Matt Mowers, who's running in New Hampshire's 1st Congressional District, speaks with state Sen. Regina Birdsell at the English Muffin diner in Hampstead, N.H., on Sept. 12, 2022
(Fox News)
Trump, who endorsed Mowers two years ago, stayed neutral in this year's showdown.
Leavitt was endorsed by Stefanik, as well as other major figures in the GOP who are allied with Trump — such as Rep. Jim Jordan of Ohio, and Sen. Mike Lee of Utah.
She also enjoyed the backing for conservative firebrand Sen. Ted Cruz of Texas, who traveled to New Hampshire last week to campaign with Leavitt.
Republican Sen. Ted Cruz of Texas headlines a rally for GOP congressional candidate Karoline Leavitt, on Sept. 8, 2022 in Londonderry, New Hampshire.
Mowers — who in June was endorsed by House Minority Leader Kevin McCarthy and Minority Whip Steve Scalise, who are the top two Republicans in the chamber — was backed by a seven-figure ad buy from the Congressional Leadership Fund, a powerful super PAC aligned with the House GOP leaders. Additionally, another outside Republican group, the more moderate Defending Main Street Super PAC, spent more than $1 million to blast Leavitt on the airwaves.
Asked about the big bucks flooding into the district, Mowers told Fox News "it tells me that folks know we're the one who's going to win this race and defeat Chris Pappas."
But Leavitt emphasized that "the people are with me" and charged that "the establishment in Washington is viciously smearing me with $5 million in negative attack ads."
Following her victory speech, Leavitt in a Fox News interview called for party unity, saying that "kicking him [Pappas] out is key to taking back the House and getting rid of [House Speaker] Nancy Pelosi once and for all and we must be joined together in that effort."
The crowded GOP primary field also included Gail Huff Brown, a former longtime TV news reporter and wife of former Republican Sen. Scott Brown, who served as U.S. ambassador to New Zealand during the Trump administration.
Huff Brown was in third place according to the latest unofficial results, followed by former state senator and executive councilor Russell Prescott; and state Rep. Tim Baxter — in single digits.
Justice Department says it supports one of Trump's nominees for special master
Illinois governor, Chicago mayor blasted for 'hypocrisy' after sending migrants bussed from Texas to suburbs
David Malan
Illinois governor, Chicago mayor blasted for 'hypocrisy' after sending migrants bussed from Texas to suburbs
President Biden declares that the COVID-19 pandemic 'is over' weeks before the midterm elections
Biden nears 100 executive orders estimated to cost taxpayers almost $1.5 trillion
Texas sheriff opens criminal probe into DeSantis operation to fly migrants to Martha's Vineyard


text:
Torbreck has been named on Robert Parker's Top 100 Wine Estates and is one of the rarest, most expensive and exciting wineries revolutionizing the way the rest of the world reacts to Australian wine. Located in the Barossa valley, Torbreck takes its name from the forest in Scotland where the owner and founding winemaker, David Powell, was once a lumberjack. He developed a passion for wine as he worked with old Shiraz vines in 1992, which led him to establish Torbreck in 1994. Powell accessed sufficient capital through share-farming and pursued his passion. These Rhone inspired wines have received the big scores and praise from every important wine critic.
www.torbreck.com
Score99 to 97 Points 96 to 94 Points
Torbreck Shiraz The Descendant 2017
Torbreck Shiraz The Run Rig 2017 6 pack
Torbreck Shiraz The Laird 2015
Torbreck Shiraz The Run Rig 2013
Torbreck Shiraz The Factor 2005


text:
Q: How to install this software with Git and NPM on a Mac I want to install some software from GitHub onto my Mac. The problem is, the instructions the developer has provided are extremely minimal. Either that or I'm just too much of a noob at command line and package management.
This is the GitHub page: https://github.com/sehugg/8bitworkshop
(Backstory: It's an IDE for authoring 8-bit games for NES, Atari, etc. that runs in a browser. But I want to manage multiple projects in different folders, and that won't be possible unless I can get it running locally on my machine.)
The instructions provided are as follows...
Install
To build the 8bitworkshop IDE:
git submodule init
git submodule update
npm i
npm run build

Usage
Start a web server on http://localhost:8000/ while TypeScript compiles in the background:
make tsweb

Run Tests
npm test

That concludes the instructions. Now for the things I seek clarification about...
Part 1 - Git
I have Git installed. I know this because when I type git --version I see git version 2.20.1 (Apple Git-117)
But apparently that version is old and it probably came with Command Line Tools. So should I (A)uninstall this version and install the latest one? (B)Attempt to update this version to the latest one? (C)Leave it alone because I don't need the latest version? (And what's the best way to do whichever of those options is advised?)
What do the submodule commands do? (Looks complicated.) Do I even need to know, or should I just type them?
Part 2 - NPM
I don't have NPM installed yet, and I know very little about it. All web searches for NPM also turn up Node.js. While I don't think I need Node.js(?), if installing Node.js also gives me NPM (as this video shows), I will do it.
After NPM is installed I'm guessing I should cd to the unzipped 8bitworkshop-master folder and then type npm i and npm run build.
Part 3 - TypeScript & Setting up a web server
This is the first time I've heard of TypeScript. Google tells me it's "a strict syntactical superset of JavaScript". I guess I should do make tsweb within the 8bitworkshop-master folder?
There are apparently different ways to set up a web server on macOS.
One is with the SimpleHTTPServer.
Another is by editing httpd.conf, as is shown in this video.
And then there's Xampp, which I've used before but I'm not sure would work in this particular case.
If anyone can advise on the best way to set up a web server to run this IDE, I will be grateful.
Part 4 - Test
So I will type npm test and something will happen? What will I be testing? Not exactly sure. I suppose there will be some kind of feedback to tell me that I either succeeded or failed.
If you've read this far, thank you. The reason I ask about these steps is that I want to gain as much knowledge as possible before attempting instead of just blundering through. There have been times when I've ended up having multiple versions of programming languages installed in different locations, or reached almost the end of a setup process only to have some error occur leaving a bunch of files copied to who-knows-where. And fixing those kinds of issues is even harder than the installation to begin with. So any help is appreciated.

A: The problem was that I had downloaded the project as a .zip file instead of cloning the repository with Git.
Prerequisites
Python 3, Command Line Tools, and Git (included with Command Line Tools) should be installed.
pyenv is the best way to install Python 3 on a Mac that shipped with Python 2.
Step 1 - Git
Decide where to clone the repository to, and cd into that directory using Terminal.
Next, type:
git clone https://github.com/sehugg/8bitworkshop.git
Type: cd 8bitworkshop (You can Tab to auto-complete)
This puts you in the newly created subfolder.
Type:
git submodule init
Once that's done, type:
git submodule update
Step 2 - NPM
Install Node.js from https://nodejs.org/en/download/
(NPM comes with it)
The LTS version is probably best.
Verify that NPM is installed by typing in Terminal:
npm -v
It should list the installed version.
Type:
npm i
If a message appears about vulnerabilities, type npm audit fix
Any "npm WARN" messages can be ignored.
You may see "2 vulnerabilities required manual review and could not be updated". Ignore this.
Type:
npm run build
Step 3 - Web Server
type:
make tsweb
After that, in a browser go to http://localhost:8000/
It really is that easy. I was overthinking this process.
Step 4 - Test
Finally, type:
npm test


text:
Find a Colorectal Surgeon
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Home > Patients > Patient Registries
Registries are listed below with a description of the services they offer and contact information for each registry. Please follow the links below to each registry:
Collaborative Group of the Americas on Inherited Colorectal Cancer
The David G. Jagelman Inherited Colorectal Cancer Registries
Hereditary Cancer Institute, Creighton University
The Johns Hopkins Hereditary Colorectal Cancer Registry
The Familial Colorectal Cancer Registry Memorial Sloan-Kettering Cancer Center
Familial Cancer Program at the University of Vermont
Hereditary Gastrointestinal Cancer Registry/Huntsman Cancer Institute
The Center for Families at Risk for Colorectal Cancer University of Pittsburgh Health System/Magee-Womens Hospital
UCSF Gastrointestinal Hereditary Cancer Registry
The M. D. Anderson Cancer Center Hereditary Colon Cancer Registry
Familial Gastrointestinal Cancer Registry, Toronto, ON Canada
Stamford Hospital (FCCR) Familial Colorectal Cancer Registry
Vanderbilt Hereditary Colorectal Cancer Registry
Oregon Colorectal Cancer Registry
Washington University, St. Louis Inherited Colorectal Cancer and Polyposis Registry
In 1995, the Collaborative Group of the Americas on Inherited Colorectal Cancer (CGA-ICC) was established to improve understanding of the basic science of inherited colorectal cancer and the clinical management of affected families. Its broad aims are to enlarge the scope of inherited colorectal cancer through:
Education of physicians, allied healthcare professionals, patients and their families.
Linkage to clinical and chemoprevention trials.
Integration of molecular and clinical research at local and national levels.
Resource for developing similar genetic registers.
CGA Contact Information:
Focus Medical Communications
The David G. Jagelman Inherited Colorectal Cancer Registry
The mission of the David G. Jagelman Inherited Colorectal Cancer Registries is to prevent death from colorectal cancer by providing the best care to patients and families, by promoting knowledge of the risks and implications of a family history of colorectal cancer, and by conducting important research in areas of concern.
to identify patients at high risk for colorectal cancer by virtue of their family history
to advise such patients of their risk and help in selection of appropriate screening tests and therapy
to provide specialized counselling and genetic testing where appropriate
to act as patient advocate
to educate patients and their families in the nature and implications of inherited colorectal cancer
to educate physicians and other healthcare professionals in the basics of colorectal cancer genetics and their clinical implications
to encourage and foster the development of inherited colorectal cancer registries throughout this country and the world.
to carry out clinically important research on inherited colorectal cancer.
Colorectal Surgery - A30
Phone: (216) 444-6470, (800) 223-2273, Ext. 46470
Hereditary Cancer Institute
The purpose of the Hereditary Cancer Center is to ultimately save lives through the evaluation and identification of families at high risk of hereditary cancer. Once a family is identified as having a hereditary cancer syndrome, education is done with the family about the syndrome. Recommendations for surveillance or early detection are made for those family members who carry a cancer-causing gene, or who prove to be a high risk for having a gene. Publications are also written for family and physician education.
Creighton University School of Medicine
The Johns Hopkins Hereditary Colorectal Cancer Registry includes families with hereditary non-polyposis colorectal cancer, familial adenomatous polyposis and other familial polyp syndromes.
We provide education, information and genetic counseling services to patients, families and health professionals. The registry works closely with the Johns Hopkins Cancer Risk Assessment Clinic and contributes to both clinical and basic science studies of hereditary colorectal polyps and cancer
The Familial Colorectal Cancer Registry in the Department of Surgery of Memorial Sloan-Kettering Cancer Center includes patients with autosomal dominant diseases such as Familial Adenomatous Polyposis and Hereditary Nonpolyposis Colorectal Cancer Syndromes, as well as those with early age-of-onset (less than 40 years of age) colorectal cancer. A network of specialty services are available to patients and their families afflicted with these problems.
Jose G. Guillem, MD, MPH
At the University of Vermont, we have a Familial Cancer Program where we maintain a database of families, including whether they meet criteria for syndromes or testing, and whether testing has been performed. The program was founded under a research grant, so the information is considered confidential and is not a part of the clinical record.
We retrieve medical records to confirm diagnoses, offer consultation with a genetic counselor and medical oncologist. We have offered testing both from commercial sources and under research protocols, locally and through collaborators in the US and Canada.
Vermont Regional Genetics Center
1 Mill Street
Box B-10
Hereditary Gastrointestinal Cancer Registry/Huntsman Colon Cancer Institute
The Huntsman Colon Cancer Registry at the Huntsman Cancer Institute (HCI) contains individuals with both familial and hereditary colorectal cancers. The Registry's aims are threefold: research, clinical, and education. It is a resource for researchers at HCI and allows collaboration with both national and international research groups. We contact participants yearly to update their information. We provide clinical and educational support to patients and health care providers in the form of screening recommendations, reminder letters to patients and/or physicians for yearly exams, and a newsletter. Staff includes a gastroenterologist, genetic counselor, and registry co-ordinator.
Hereditary Gastrointestinal Cancer Registry
Huntsman Colon Cancer Registry Institute
2000 Circle of Hope
The Center for Families at Risk for Colorectal Cancer
University of Pittsburgh Health System
The UPMC Hereditary Colorectal Tumor Program offers intensive surveillance, expert diagnosis, and prompt treatment when necessary for patients and families at high risk from colorectal cancer (CRC). Using risk assessment strategies, preventive measures, and the full range of diagnostic modalities, clinicians at the Hereditary Colorectal Tumor Program provide an opportunity for these people to prevent cancer and increase quality of life.
Dr. Randall Brand
Genetic Counselor: Beth Dudley, MS, MPH, CGC
UPMC Hereditary Colorectal Tumor Program
The UCSF Colorectal Cancer Registry, a partner program of the UCSF Cancer Risk Program provides cancer genetics education, cancer risk assessment, genetic counseling and confidential genetic services to individuals and families at risk for hereditary colon cancer. The registry maintains a database of high-risk families providing them access to UCSF clinical studies as well as updates colon cancer screening and prevention information. Currently, genetic counseling and DNA testing for HNPCC and FAP is available to individuals and families as part of a long term research study addressing the long term consequences of genetic testing for inherited susceptibility to cancer.
1600 Divisadero Street, Box 1693
Hellman Bldg. Rm C415E
The Hereditary Colon Cancer Registry at the University of Texas M.D. Anderson Cancer Center includes families with hereditary non-polyposis colon cancer (HNPCC), familial adenomatous polyposis (FAP), and other hereditary polyposis syndromes. The registry also serves individuals with family histories of colon cancer or with an early age at diagnosis who have not been diagnosed with a specific hereditary colon cancer syndrome.
The goal of our registry is to provide education about hereditary forms of colon cancer to families and professionals and also to advance the state-of-the-art prevention of these conditions by conducting genetic, psychosocial and chemoprevention research. These goals are accomplished through the efforts of a multidisciplinary team including physicians, genetic counselors, research nurses, behavioral scientists, and epidemiologists. The M.D. Anderson Cancer Center offers genetic counseling and comprehensive cancer screening services. At this time we also offer genetic testing for FAP, Peutz-Jeghers syndrome, and HNPCC (both MSI and mutation detection) as part of research studies.
Persons enrolled in the registry have the opportunity to receive risk assessment, genetic counseling, cancer screening and, when appropriate, genetic testing. They also will be offered the chance to participate in appropriate research studies. In addition to clinical services and research opportunities, registry participants and professionals may also receive our quarterly newsletter regarding hereditary colon cancer, Generation to Generation. Additional information about the M.D. Anderson Cancer Center Hereditary Colon Cancer Registry is also available at our website.
Clinical Cancer Genetics Program
M. D. Anderson Cancer Center
1515 Holcombe Blvd. Unit 209
Familial Gastrointestinal Cancer Registry
We are a multidisciplinary genetic register, established in 1980, to assist Canadian and specifically Ontario families affected with polyposis syndromes, including familial adenomatous polyposis (FAP), hereditary colorectal cancer (HNPCC), and related variant syndromes. Family clinics are arranged to ensure ongoing surveillance and early diagnosis for both patients and first-degree relatives. Timely treatment, either locally or through referral to colorectal specialists, is a focus of our cancer prevention efforts. Our molecular diagnostic programme includes service testing for FAP and testing on a research basis for HNPCC, juvenile polyposis, Peutz-Jeghers syndrome, and atypical polyp syndromes. Counselling and education about inherited colorectal cancer are provided through our genetic counsellors. Access to cancer-related information is encouraged through our patient library; professional reference collection; family guides; and audiovisual material.
Zane Cohen Centre for Digestive Diseases Familial Gastrointestinal Cancer Registry
Joseph and Wolf Lebovic Health Complex
Box 24 - 60 Murray Street
Toronto, ON M5T 3L9
Phone (FGICR/FAP): (416) 586-4800 ext. 8346
This registry is designed to promote knowledge of the implications of having a family history of cancer, to facilitate important research and to provide information/education to individuals and families at risk as well as to healthcare professionals.
To educate people at high risk of developing colorectal and related cancers
To promote knowledge of the implications of having a family history of colorectal and related cancers
To provide up to date information regarding colorectal cancer syndromes, screening and cancer prevention methods
To establish and maintain a website containing information regarding the registry, colorectal cancer syndromes, and the genetic counseling program at Stamford Hospital
Collect data for the purposes of future research and education
Erin Ash, MS, CGC
Registry Coordinator
Cancer Genetic Counseling Program
Bennett Cancer Center
30 Shelburne Road
Stamford, CT 06904-9317
Vanderbilt Hereditary Colon Cancer Registry
The Vanderbilt Hereditary Colon Cancer Registry is dedicated to the understanding of hereditary colorectal cancers by gathering information on patients and their family members who have either had colorectal cancer or, because of family history, are at high risk of developing colorectal cancer. The Registry also enrolls those who have or are at increased risk for developing known hereditary colorectal cancer syndromes such as:
Hereditary Nonpolyposis Colorectal Cancer (HNPCC)
Familial adenomatous polyposis (FAP)
Attenuated familial adenomatous polyposis (aFAP)
Juvenile polyposis (JPS)
Peutz-Jeghers syndrome (PJS)
Hereditary mixed polyposis syndrome
Who Should Join the Registry:
You have a personal history of colorectal cancer at age 50 or younger
Your family history includes close relatives with colorectal cancer
You have a personal or family history of polyposis (many polyps)
Your personal family history includes HNPCC related cancers such as endometrial or uterine, renal, ovarian, brain, pancreas, and small intestine
The registry acts as a resource for patients and their family members by providing education, cancer risk assessment, colon cancer screening and surveillance recommendations, as well as genetic counseling and testing.
Principal Investigator: Dr. Molly Ford
Oregon Colorectal Cancer Registry (OCCR)
The Oregon Colorectal Cancer registry (OCCR) is an extensive, private library of colon cancer data collected from individuals and families across the country. Participants contribute health histories that are carefully documented and reviewed. Researchers can use this information to identify individuals who may benefit from screening measures to detect precancerous changes at an earlier, and potentially more treatable, stage. Additionally, participants may provide blood and tissue samples for the registry that can be utilized for ongoing colorectal cancer research. The registry is a dynamic resource that continues to grow as new patients are enrolled.
Charlie Borzy, CCRC
OCCR
3181 SW Sam Jackson Park Rd., L223A
The Inherited Colorectal Cancer and Polyposis Registry at Washington University School of Medicine, St. Louis, was started in the 1970's by Ira Kodner, MD, as a resource for families with inherited colorectal cancer syndromes such as familial adenomatous polyposis (FAP), hereditary non-polyposis colorectal cancer (HNPCC) and other hereditary polyposis syndromes. The main purpose of the registry is to provide education and support to the patients and their family members with inherited colorectal cancer syndromes through prevention, early diagnosis and treatment of colorectal cancer. By enrolling in the registry, patients have access to genetic counseling, genetic testing as well as educational events and literature on inherited colorectal cancer syndromes.
Director: Dr. Paul Wise
Inherited Colorectal Cancer and Polyposis Registry
Barnes-Jewish Hospital Plaza
660 S. Euclid Avenue, Campus Box 8109
American Society of Colon and Rectal Surgeons
2549 Waukegan Road, #210
Bannockburn, IL 60015
ASCRS Antitrust Policy
ASCRS Non-Discrimination Statement
Research Foundation of the ASCRS Non-Discrimination Statement
ASCRS Access to and Use of Works Policy
The information presented on The American Society of Colon and Rectal Surgeons (ASCRS) website is solely intended to provide you with information that will help educate you on various conditions. No information provided on this website or otherwise offered by ASCRS is intended to replace or in any way modify the advice of your health care professional.
© Copyright 2020 The American Society of Colon and Rectal Surgeons. All rights reserved.


KUNSTSODA is a mobile art gallery that promotes contemporary emerging and established artists, as well as selected craft and design talents. For notice on coming events, follow Kunstsoda .
KUNSTSODA # 2 : April 2015 at Rådhusgata 19, Oslo. Photography : Fin Serck – Hanssen. Exhibition and booklaunch for Our Voices HIV : 30 years in Norway.For more details on the exhibition check KUNSTSODA . The article in Aftenposten's A-magasinet is available here , where some of the strong stories from the book can be found.
KUNSTSODA #1 : August 2014 at NG20 Design and Fashion Hub. Photography Katinka Goldberg, Painting and Prints Marius Martinussen, Jewellery Aron Li, Sculpture Lena Walton Herfindal and design Dieter Volkers. Katinka Goldberg Skallen from the series Bristningar (2013) Ed.3 +1 Photography Lena Walton Herfindal, Another Layer, Copper and acrylic Paint Photo: Heidi Furre Marius Martinussen, Expand Craqulere I, 2014 Acrylic on Canvas, 85 x 80 cm Skull II Serigrafi, 50 x 42 cm Ed.25 Aron -Irving Li Steel & leather , Ring Saga, Silver and Stone Dieter Volkers & Klaas Kuiken: Glass, Dieter Volkers, Ball Clamp Dieter Volkers.


text:
The Red Line (2019)
This Victory Alone Is Not the Change We Seek
TV-14 | 43min | Crime, Drama | Episode aired 19 May 2019
Season 1 | Episode 8
All Episodes (8)
Tia receives a financial windfall from an unlikely source, putting her back in the race for alderman against Nathan Gordon. Also, Paul makes a profound and life-changing revelation about ... See full summary »
Caitlin Parrish (created by), Erica Weiss (created by) | 2 more credits »
Noah Wyle, Emayatzy Corinealdi, Aliyah Royale | See full cast & crew »
Editorial Lists
Related lists from IMDb editors
TV Series Tracker: Renewed and Canceled
Search for "This Victory Alone Is Not the Change We Seek" on Amazon.com
Title: This Victory Alone Is Not the Change We Seek (19 May 2019)
Noah Wyle ... Daniel Calder
Emayatzy Corinealdi ... Tia Young
Aliyah Royale ... Jira Calder-Brennan
Noel Fisher ... Paul Evans
Howard Charles ... Ethan Young
Elizabeth Laidlaw ... Vic Renna
Vinny Chhibber ... Liam Bhatt
Michael Patrick Thornton ... Jim Evans
Glynn Turman ... Nathan Gordon
Alano Miller ... Isaiah
Corey Reynolds ... Harrison Brennan
Enuka Okuma ... Suzanne Davis
Enid Graham ... Amanda Sharp
J.J. Hawkins ... Riley Hooper
Kristina Valada-Viars ... Elizabeth
Tia receives a financial windfall from an unlikely source, putting her back in the race for alderman against Nathan Gordon. Also, Paul makes a profound and life-changing revelation about himself, on part two of the two-part finale of The Red Line.
Berlanti Productions, Array Filmworks, CBS Television Studios See more »
No Time for Crying
Written by Mavis Staples, Jeff Tweedy
Performed by Mavis Staples
4 July 2019 | by zkonedog – See all my reviews
There really are two ways to look at Red Line as a series: On one hand, it seems like something CBS could have streamed over its All-Access platform in terms of overall production value and content. This depth of material (even in miniseries form) isn't usually seen on the airwaves of the major networks. In that sense, Red Line is an unqualified success. On the other hand, despite a great start/setup, the final episodes really descend into a thick, almost cloying sense of "schmaltz", for lack of a better word. Very little nuance whatsoever is applied.
For the basic setup, this show begins with Harrison Brennan (Corey Reynolds), who is black, witnessing a late-night gas station burglary in Chicago. When Officer Paul Evans (Noel Fisher) shows up on the scene, he immediately identifies the innocent Brennan as a threat and fatally shoots him. As a result of this cop-on-black-man violence in which Officer Evans looks to get "off the hook", Harrison's husband Daniel (Noah Wyle), daughter Jira (Aliyah Royale), and a black female candidate for city Alderman, Tia Young (Emayatzy Corinealdi), fight for justice. Along the way, a number of familial revelations and twists-and-turns are revealed that in equal parts fracture and strengthen the bonds between all parties involved.
To be honest, I was initially drawn to this series by Wyle, whose work in Falling Skies really caught my eye back when that show was still airing. He is indeed great for his role here, and he and Fisher often steal the show in the acting department. I was also impressed by the setup, or the first 3-4 episodes. The show creators (Caitlin Parrish & Erica Weiss) do try to tell both sides of the very complicated story, and especially in the early goings really succeed in this task. The way this show sets up, it looks to be a really dynamic look at either side of issues that could be ripped right from current news headlines.
The problem I had with Red Line, however, is that after that great setup it really seemed to devolve into a series of outrageous dramatic herrings and an almost non-stop string of contrived revelations. While I realize that is kind of the definition of televised drama, the final four or so episodes really pushed that concept into "ridiculous" for me. Every episode-and often multiple times per episode-something big (often outrageous) would happen to reinforce the core messages. In other words, there is very little nuance to Red Line, especially as it winds to a close. Instead, its messages are continually hammered home with very little time for thought or reflection.
Not helping matters either is that while the show seemed to want to tell a "both sides of the story" type narrative, objectively it does not. While it may pay lip service to Evans and his "cop brethren" side of the tale, he seems to be used as much as a pawn to set up the next social issue tackled as anything else. If the writers really wanted to explore his character in-depth I believe they could have, but again this show seemed more concerned about its messages than the treatment of certain characters.
The way I look at Red Line in final summation is that if one is a progressive and passionate about social issues, this is about as feel-good of a show as it gets. It's not all "sunshine and rainbows", to be sure, but the messages are ones of overwhelmingly social justice and positivity from that point of view. However, if one is drawn to really nuanced characters and plots, this one might be a bit of a disappointment, as it becomes very clear that all the characters/events are essentially pawns in the chessboard of putting the social issues front-and-center. That is how I come to my right-down-the-middle 2.5 star rating: Red Line gave me perhaps more than enough interesting/inspirational social topics, but not nearly enough crafting/nuance of those topics to make me really engage in the material beyond a "rah rah" surface level.


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